David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :

'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)

(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia.(2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.

02 December 2013

Sometimes, Melburnians can surprise even themselves. For
example, last February, 300,000 of us jammed into the CBD for the first
White Night arts and cultural festival. From 7pm to 7am, the city glowed
and pulsated so resoundingly, successfully and happily, that summer
without such an event is now unthinkable.There is the same feeling of simultaneous discovery and celebration with the National Gallery of Victoria's Melbourne Nowexhibition
of contemporary art. This description does not adequately summarise
what is more exposition than exhibition: it involves more than 175
individual and group presentations across art, architecture, design and
performance, and there's barely a millimetre of space to spare inside or
outside either gallery.Melbourne Now's first two days attracted more than
18,000 people, the NGV's biggest opening weekend in 10 years. There
might have been substantial turnouts for the gallery's blockbuster
shows, but this one seems set to notch up its own records, as well as
attract an eager younger generation of art lovers.The remarkable thing - an overwhelming endorsement of NGV
director Tony Ellwood's determination to sharpen the institution's focus
on contemporary art - is that Melbourne Now is entirely a
local show, devoted to the here and now. It exists to display the
immensity of cultural talents in this city at this particular time. That
its popularity is assured from the outset, offers confirmation that
contemporary art is not to be feared, but something to be embraced and
celebrated in all its forms. The walls of the NGV's St Kilda Road
building may appear tall, grey and unbreachable, but behind them lie new
wonders to behold.